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  3. We tend to think of the decades immediately following World War II as a time of prosperity and growth, with soldiers returning h

We tend to think of the decades immediately following World War II as a time of prosperity and growth, with soldiers returning h

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问题     We tend to think of the decades immediately following World War II as a time of prosperity and growth, with soldiers returning home by the millions, going off to college on the G.I. Bill and lining up at the marriage bureaus.
    But when it came to their houses, it was a time of common sense and a belief that less could truly be more. During the Depression and the war, Americans had learned to live with less, and that restraint, in combination with the post war confidence in the future, made small, efficient housing positively stylish.
    Economic condition was only a stimulus for the trend toward efficient living. The phrase "less is more" was actually first popularized by a German, the architect Ludwig Mies van der Rohe, who like other people associated with the Bauhaus, a school of design, emigrated to the United States before World War II and took up posts at American architecture schools. These designers came to exert enormous influence on the course of American architecture, but none more so than Mies.
    Mies’s signature phrase means that less decoration, properly organized, has more impacts than a lot. Elegance, he believed, did not derive from abundance. Like other modern architects, he employed metal, glass and laminated wood - materials that we take for granted today but that in the 1940s symbolized the future. Mies’s sophisticated presentation masked the fact that the spaces he designed were small and efficient, rather than big and often empty.
    The apartments in the elegant towers Mies built on Chicago’s Lake Shore Drive, for example, were smaller - two-bedroom units under 1,000 square feet - than those in their older neighbors along the city’s Gold Coast. But they were popular because of their airy glass walls, the views they afforded and the elegance of the buildings’ details and proportions, the architectural equivalent of the abstract art so popular at the time.
    The trend toward "less" was not entirely foreign. In the 1930s Frank Lloyd Wright started building more modest and efficient houses - usually around 1,200 square feet - than the spreading two-storey ones he had designed in the 1890s and the early 20th century.
    The "Case Study Houses" commissioned from talented modern architects by California Arts & Architecture magazine between 1945 and 1962 were yet another home grown influence on the "less is more" trend. Aesthetic effect came from the landscape, new materials and forthright detailing. In this Case Study House, Ralph Rapson may have mispredicted just how the mechanical revolution would impact everyday life - few American families acquired helicopters, though most eventually got clothes dryers - but his belief that self-sufficiency was both desirable and inevitable was widely shared.
What is true about the apartments Mies built on Chicago’s Lake Shore Drive?
选项 A、They ignored details and proportions.
B、They were built with materials popular at that time.
C、They were more spacious than neighboring buildings.
D、They shared some characteristics of abstract art.
答案D
解析 本题信息点是the apartments Mies built on Chicago’s Lake Shore Drive。在文章中查找该信息点时我们发现第五段的两句话都与该信息点相关，第一句话是The apartments in the elegant towers Mies built on Chicago’s Lake Shore Drive，for example，were smaller—two-bedroom units under 1,000 square feet—than those in their older neighbors along the city’s Gold Coast．大意为：Mies建造在芝加哥的公寓比周围的旧房子更小；第二句话是they were popular because of their airy glass walls，the views they afforded and the elegance of the buildings’details and proportions．the architectural equivalent of the abstract art so popular at the time，大意为：这些公寓之所以受欢迎是因为其轻薄的玻璃墙壁、周围的景致极其优美的细节比例，这些建筑风格相当于当时身为流行的抽象艺术。将以上信息与四个选项比对，我们得知选项D．They shared some characteristics ofabstract art符合第二句话后半部分的内容，为本题答案。
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